310 IH. Southern Quarters. ROME. e. Fora of the Emperors :
his own expense, by Pietro da Cortona (p. 57), who added the
upper church, a handsome domed structure in the shape of a Greek
cross. Pietro da Cortona is buried in the lower church, while the
tomb of Luigi Canina (d. 1856), the architect and archaeologist, is
in the upper church.
No. 44, Via Bonella, is the Accadèmia di San Luca (PI. II,
20), a school of art founded in 1577 and re-organized in 1874. The
first director was Federigo Zuccaro. The picture-gallery of the
Academy is a second-rate collection, but may be visited if time
permit. Admission, see p. 172. On Oct. 17th, 1-5, and Oct. 18th,
8-5, adm. is free; the gallery is closed on Jan. lst, Easter Sun.,
Christmas Day, and the first Sun. in June.
We ascend the staircase, into the walls of which are built a few
casts from Trajan's Column (disfigured with whitewash). On the first
landing is the entrance to the collection of the competitive works of the
pupils (closed ; apply to custodian upstairs) ; Kessels, Discus-thrower
reposing, in plaster ; Christ on the Mt. of Olives, drawing by Ludwig
Seitz; reliefsl»y Thorvaldsen and Canova; Ganymede watering the eagle,
by Thorvaldsen, and several casts from the antique.
We ascend another staircase, and enter a small antechamber, whence
a door to the right leads to the Biblioteca Sarti, containing 15,000 vols.,
chiefly relating to art (adm., see p. 166). In the antechamber we ring
at the entrance to the —
Picture G-allery. I. Saloon. Entrance-wall: 1. Swabian School,
Descent from the Cross; 2. Carlo Maratta, Madonna; on the back of
this picture there is an interesting copy, by Marcantonio, of the first
design of Raphael's Transfiguration ; 3. Rubens, Nymphs crowning the
goddess of Abundance (sketch; ca. 1610-12); 4, 5. G. Poussin, Landscapes;
7, 11. Orizzonte, Landscapes ; 10. Van Dyck, Madonna (damaged). — Next
wall: 21, 24. Jos. Vernet, Sea-pieces. — Wall facing the entrance: 36.
Mytens, Admiral Kortenaar (1636) ; 39. School of P. Veronese, Toilette
of Venus (vanity) ; 153. Giulio Romano, Copy of Raphael's Galatea in
the Farnesina (p. 415) ; 43. Guido Reni, Cupid ; 49. Claude Lorrain, Sea-
piece; 51. Fr. Hayez (d. 1882), Victorious athlete. — Short wall: 52.
J. Vernet, Sea-piece. In the centre are two desk-cases with etchings.
— The saloon is adjoined on the right by a room containing modern
works, most of them painted in competition for academical prizes. —
Another small room contains portraits of artists by themselves, including
(to the left of the entrance) those of Virginie Lebrun (198) and Angelica
II. Saloon. 57. Early Netherlandish School, Mystic marriage of
St. Catharine ; 59. School of Titian, Vanitas ; 61. Copy of Titian, St. Jerome
(originai in the Brera) ; 66. J. Bassano, Annunciation ; 72. Raphael, St. Luke
painting the Madonna (studio-piece) ; 73. Copy of Titian, Tribute-money
(originai in Dresden) ; 77. Guercino, Cupid and Venus (fresco) ; *78. Raphael,
Boy as garland-bearer (ca. 1512), a relic of a fresco from the apartments
of Innocent Vili, in the Vatican, freely retouched (copy of the boy in
the fresco of Isaiah in Sant' Agostino, p. 245); 79. Copy of Titian,
Discovery of the guilt of Callisto (originai at Bridgewater House, in
London); 81. Spagnoletto, St. Jerome disputing with the scholars.
III. Saloon. On the wall to the right: 103. Guido Cagnacci, Lucretia,
an able work of this master, a painter of no great note belonging to
the school of Guido Reni; 107. Paolo Veronese(?), Susanna. — Opposite
the entrance, 116. Guido Reni, Bacchus and Ariadne; no number, Pio
Joris, Maundy Thursday. — Wall to the left: 122. Albani, Madonna;
211. After Van Dyck, Portrait of a child (pastel, a late copy taken from